Kid Ory 1959 - Tiger Rag. - YouTube Kid Ory 1959 - Tiger Rag. Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 11, 2011 Kid Ory 1959 - Tiger Rag At this concert in Paris in the "La Pleyel" concerthall Ory and his band play "Tiger Rag" Next to Ory on trombone we see Henry "Red" Allen on trumpet, Bobby McCracken on clarinet, Cedric Heywood piano, William Girsback bass and Alton Redd drums Edward Ory was born in 1986 in LaPlace, Louisiana. As a child, he began to make music on homemade instruments. By 1911 he was leading one of the best-known bands in New Orleans.

Among its members at various times were several musicians who later were highly influential in jazz development, including Sidney Bechet, Mutt Carey, Jimmy Noone, King Oliver, and Louis Armstrong. In 1919 Ory moved to California, forming a new band in Los Angeles. After five years he joined King Oliver in Chicago and by the end of the 1920s had become a prolific jazz recording artist. He played with King Oliver's Dixie Syncopators, Louis Armstrong, and Jelly Roll Morton's Red Hot Peppers. In 1930 Ory retired from music to run a successful chicken farm, but on his comeback in 1939 he enjoyed even greater success. He worked with clarinetist Barney Bigard and trumpeter Bunk Johnson (1943), and his motion-picture credits include Crossfire, New Orleans, and The Benny Goodman Story. Ory was perhaps the first musician to codify, purely by precept, the role of the trombone in classic three-part contrapuntal jazz improvisation.

Ory is often remembered as a "tailgate" trombonist, one whose style of playing fills in, or supports, other band instruments and is reminiscent of the styles of pre-jazz ragtime bands and cakewalk bands. His most outstanding jazz compositions were "Muskrat Ramble" and "Savoy blues". Edward Kid Ory died Jan. 23rd 1973 in Honolulu, Hawaii. Category Traditional New Orleans Jazz | Entries | KnowLA, Encyclopedia of Louisiana Traditional New Orleans Jazz Entries » Traditional New Orleans Jazz Joseph “King” Oliver's Creole Jazz Band, one of the earliest traditional jazz bands, recorded songs including “Canal Street Blues,” “Snake Rag,” and “New Orleans Stomp.” Pictured: Johnny Dodds, Baby Dodds, Honore Dutrey, Louis Armstrong, King Oliver, William Johnson, and Lil Hardin. Learn more » By the time of the Louisiana Purchase in 1803, New Orleans was already a music city, offering bals masqués, opera and ballet, military parades with brass bands, choral masses, and virtually nonstop street serenading—all of which coalesced to give birth to jazz.

Most people think of New Orleans jazz as a single original jazz idiom, or musical style, when in fact it retains distinctive stylistic features tied to festival traditions within a discrete, regional culture. Even today, the musical practices rooted in neighborhood and family affiliations often influence musical styles and trends among traditional and modern jazz musicians more than national market trends. The Roots of Jazz In the Antebellum period , weekly “ring shouts” at Place Congo in New Orleans (municipally sanctioned from 1817 to 1856) highlighted the pervasive presence of African and Afro-Caribbean musical sensibilities, also apparent in performances by the black street crier Signor Cornmeal at the St. Charles Theater in 1837, where he alternated with French and Italian opera . Over the course of the nineteenth century in New Orleans, the diversity arising from French , Spanish , and African cultures in the colonial period grew to include European, Caribbean, Latin American, and Asian immigrants, presenting local musicians with a vast array of raw materials from which to draw in making music.

Beginning in the late nineteenth century, styles of dance underwent a dramatic shift away from polite, measured, and hierarchical nineteenth-century fare (i.e., quadrille, schottische, waltz, mazurka) to more suggestive, all-purpose steps such as the slow drag, two-step, one-step, and foxtrot, which suited the new musical genres of ragtime, blues , Tin Pan Alley popular tunes, and jazz that were coalescing in the early twentieth century. By the early twentieth century in New Orleans, an endless succession of public and private social rituals requiring music nurtured this process of music evolution: Carnival , debutante balls, lakefront picnics and lawn parties, train and riverboat excursions, benevolent association parades, church dedications, “naked dances” in Storyville , jitney or taxi dances, and college “script” dances (where subscriptions were sold in advance), vaudeville, sporting events, and funerals . In New Orleans, music and lifestyle were at all times functionally connected.

Despite the pall of racial segregation instituted by the state legislature in the 1890s and validated by the US Supreme Court with the “separate but equal” doctrine in the Plessy v. Ferguson decision in 1896, music provided opportunities for people of diverse backgrounds to get together. Much of this activity was made possible by neighborhood settlement patterns that predated segregation. Tremé, the lower French Quarter, and the Seventh Ward (clustered in the downtown area below Canal Street); Central City and the Irish Channel (uptown, above Canal Street); and Algiers (on the West Bank) were all characterized by crazy-quilt settlement patterns, interspersing Creoles , blacks, whites, Jews, Hispanics, and Latinos next door to each other within blocks. The prevalence of marching bands, jazz bandwagon advertisements, and spasm bands performing in the streets of New Orleans meant that vernacular musical innovations such as jazz were available to everyone within listening range, regardless of laws that attempted to keep black and white cultures mutually exclusive. In the period from 1895 to 1925, most jazz musicians came from these neighborhoods, where the outdoor music was taking place.

The “hotter” and more expressive dance music that came to be known as jazz catalyzed the attraction of young people. Thus, this musical style, rooted in the good-time practices of the uptown African American community, spread rapidly throughout the metropolitan area, into the rural hinterland, and across the nation. Early Jazz The conventional wisdom about musical illiteracy as pervasive in early jazz does not accurately describe the variety of skill sets that musicians used to satisfy the demands of diverse clienteles. The trumpeter Louis Armstrong and trombonist Kid Ory both learned to read music when their careers required it; others, like the clarinetist Sidney Bechet , never did. Yet most New Orleans jazz bands drew upon varying skill levels among “readers” (who introduced the latest favorites from scores), “spellers” (who could not sight-read notes but could follow a written chord progression), and “fakers” in order to meet the functional requirements of a competitive market that required flexibility. “Faking” (or playing by ear) often led to further instruction, which could include solfège, musical literacy, theory, and arranging at the hands of teachers like Manuel Perez or Lorenzo Tio Jr.

Because women often received training on piano in church or at home, many were proficient readers, and their appearance in jazz bands throughout the 1920s was largely based on such abilities, along with the desire to dress up bands with an attractive female presence for competitive purposes. Regardless of gender or skill level, however, every musician aspired to create his or her own voice (musical signature), because establishing a reputation as an exciting and singular player was the best way to find employment. Although many early New Orleans jazz bands were pick-up groups composed of hastily recruited musicians, some achieved an identifiable band chemistry with a stable roster of players. In either case, jazz musicians were expected to be conversant with a range of styles and repertoire if they wanted to keep working.

Instrumentation and Style Traditional New Orleans jazz is band music characterized by a front line usually consisting of cornet (or trumpet), clarinet, and trombone engaging in polyphony with varying degrees of improvisation (without distorting the melody) and driven by a rhythm section consisting of piano (although rarely before 1915), guitar (or, later, banjo), bass (or tuba), and drums delivering syncopated rhythms for dancing (usually, but not always, in common or 4/4 time). Jazz transformed leadership roles within the older tradition of New Orleans dance bands: In 1900 violinists led the ensemble, but by 1917 their numbers and influence had diminished as volume levels rose and the lead melody role fell to the cornet, then to the trumpet. Within the early jazz ensemble, the clarinet plays obbligato to the lead (primarily with arpeggiated runs), and the trombone engages in various rhythmic pops, growls, and slurs, while also adding harmonic variations and occasionally covering bass lines. Guitar/banjo and piano reinforce the chord progression and rhythm, while also adding fills during breaks and pickups.

The string bass accentuates the first and third beats, sometimes shifting to percussive slap-style eighth-note patterns, especially in the “out chorus,” the final measures of the piece, which were performed with extra energy. The introduction of “trap” drum sets in the 1890s was a major technological leap that enabled intensification and consolidation of rhythmic functions. In a traditional rhythm section, the drummer combines syncopated “press rolls”—even, recurring double-beats, 32 to 64 beats to the measure—and backbeats on snare with ground beats on bass drum. Cymbals are used sparingly, generally for crashes on the upbeat during out choruses or choked accents in stop-time breaks. While the instrumentation of a New Orleans jazz ensemble usually ranges from five to seven pieces, in the early years bands were free to experiment with configurations that suited the requirements of the market. In 1899 Henry Peyton’s Accordiana Band sometimes used accordion, cornet, clarinet, and valve trombone; at other times the wind instruments were replaced by strings.

In 1913 the Six and Seven-Eighths String Band of New Orleans engaged in collectively improvised polyphony without brass, reeds, and drums. Gilbert Frank was leader of the Peerless Orchestra in 1905, where he played “hot” piccolo, while his brother Alcide, a violinist, led the Golden Rule Orchestra, which contemporaries characterized as “hotter” than the band led by Buddy Bolden , the first cornet king of jazz. Eventually, saxophones entered the New Orleans front line, as seen in photographs of the Fischbein-Williams Syncopators (1923), Sam Morgan’s Jazz Band (1925), Celestin’s Original Tuxedo Jazz Orchestra (1928), and the Jones & Collins Astoria Hot Eight (1929).

Marching bands that played for second-line dancers in the street, like the Onward Brass Band (a “reading” band that adapted to “faking” around 1905 when jazz became popular) and the Eureka (organized in 1920 as a jazz brass band), usually consisted of ten to twelve instruments: three trumpets, two reeds (originally clarinets; after World War II more likely saxophones), two trombones, brass bass, and snare and bass drummers. What all these bands shared was a style of playing “hot” dance music that suited the demands of a diverse, music-loving clientele, whether in cabarets, at dance halls, on riverboats, or in the streets. Solo improvisation was not common in New Orleans jazz bands until the mid-1920s, as documented on the recordings of the New Orleans Rhythm Kings, King Oliver’s Creole Jazz Band , Clarence Williams’s Blue Five, and Louis Armstrong and his Hot Five. Touring, Technology, and Adaptation Traditional New Orleans jazz entered the American entertainment mainstream in two ways between 1907 and 1917— through touring and phonograph records.

Prior to the first jazz recordings by the Original Dixieland Jazz Band in New York in February 1917, New Orleans musicians had already traveled widely throughout North America. For example, the Creole pianist and composer Jelly Roll Morton left the city in 1907 and remained itinerant for most of his life; the Original Creole Orchestra worked the Pantages vaudeville circuit from 1914 to 1918, including Canada; and Tom Brown’s Band from Dixieland played cabarets and theaters in Chicago and New York in 1915. In 1922, Kid Ory's Orleans musicians in the Chicago region from 1923 to 1928 that became the basis for widespread recognition of jazz as an American art form. Continuing the pragmatism that had characterized their musical experiments back home, these musicians employed diverse strategies, while also remaining true to the community cultures on which New Orleans-style jazz was based.

In 1923, King Oliver's Creole Jazz Band (featuring Louis Armstrong) relied exclusively on “head” arrangements (tunes worked out in advance and learned by rote) to prepare for its recording sessions, including titles like “Canal Street Blues,” “Snake Rag,” and “New Orleans Stomp.” Beginning in 1925, Louis Armstrong and his Hot Five supplemented the occasional use of sheet music with head arrangements and spontaneous ideas generated in the studio to achieve an identifiable sound, leading to recordings like “Heebie Jeebies” (1926), “Struttin’ with Some Barbecue” (1927), and especially “West End Blues” (1928), which were acclaimed as jazz masterpieces. Jelly Roll Morton's Red Hot Peppers rehearsed with scores but added improvised passages, insinuating individual voices where Morton wanted them, as heard in “Black Bottom Stomp” (1926), “Jungle Blues” (1927), and “Georgia Swing” (1928).

Each group had its own sound, but they were also working together to advance the idiom, especially evident in the transition from collective to solo improvisation driven primarily by Louis Armstrong. Back in New Orleans, recordings made after 1924 by the Halfway House Orchestra, the Original Tuxedo Jazz Orchestra, Sam Morgan’s Jazz Band, the New Orleans Owls, John Hyman’s Bayou Stompers, and the Jones & Collins Astoria Hot Eight illustrated a parallel variegation among bands that did not travel, and none of them sounded like the New Orleans-derived bands in Chicago. By 1930, the multiplicity of musical possibilities inherent in traditional New Orleans jazz as an idiomatic playing style had amply demonstrated the genre’s potential for open-ended artistic expression. Yet, several coinciding factors spelled the end of the line for traditional New Orleans jazz as a force in the entertainment market: the rise of radio and implosion of the phonograph record boom that had sustained many jazz artists throughout the 1920s; the onset of the Great Depression; and the shifting musical fashion apparent in the rise of big bands whose highly arranged scores left no place for the small-band collective improvisation associated with New Orleans.

By mid-1931, both Jelly Roll Morton and King Oliver had been dropped by their record labels, and Kid Ory was in retirement. Only Louis Armstrong continued, fronting a big band that bore little resemblance to the New Orleans-style recording units that had made him famous in the previous decade. Revival and Survival Despite the trends associated with the swing era (represented by clarinetist Benny Goodman’s rise to stardom in 1935), some New Orleans jazz bands persevered and even flourished during the 1930s. Luis Russell’s Orchestra (made up largely of refugees from King Oliver’s bands) adapted to the new stylistic environment while also retaining a semblance of New Orleans flavor and became successful in New York. The Bob Cats (a New Orleans unit within the Bob Crosby Orchestra) reworked King Oliver specialties like “Riverboat Shuffle” and offered new material such as “Big Noise from Winnetka” (1938) that appealed to Lindy Hoppers enamored with swing.

Beginning in 1934, New Orleans trumpeter Louis Prima inaugurated a show business career that included jazz, swing combos, big band, Italian ethnic, and rock-and-roll phases, keeping him in the vanguard of American popular entertainment for nearly four decades. Others were less fortunate: In the mid-1930s both the Original Dixieland Jazz Band and Jelly Roll Morton attempted comebacks using modernized arrangements, but without success. Perhaps the most surprising development of all, however, was the “New Orleans Revival” that attended the publication of the early history Jazzmen (1939) by Frederic Ramsey and Charles Edward Smith. This book sparked a highly publicized resurrection of the careers of cornetist Bunk Johnson and trombonistKin the 1940s, conceived as an antidote to the rise of bebop and modern jazz in the World War II period. The revival brought previously unknown musicians (particularly the clarinetist George Lewis ) to public attention and led directly to the establishment of Preservation Hall in 1961, based on the belief that traditional New Orleans jazz was noncommercial, community-based music that should be protected from the machinations of the music industry.

Ironically, selling “authentic” jazz to tourists (supported by aggressive international touring) became the key to success for the musicians affiliated with Preservation Hall, but most of them were less concerned with concepts of authenticity than they were with finding employment. Although Traditional New Orleans Jazz came very close to extinction during the 1930s, it found ways to survive through experimentation and reinvention. After World War II, a new generation of local musicians interested in modern jazz, including drummers Earl Palmer, Ed Blackwell, and James Black; pianists Ellis Marsalis and Ed Frank; and saxophonists Alvin “Red” Tyler, Nat Perriliat, Harold Battiste, and Edward “Kidd” Jordan, showed that there was room for multiple styles within the New Orleans jazz continuum. This trend continues as the tradition finds new ways to reinvent itself.

More recently, the most vital segment of the jazz community has been the new wave of brass bands emerging in the wake of guitarist/banjoist Danny Barker’s Fairview Baptist Church Christian Band experiments in the 1970s, including the Dirty Dozen, the ReBirth, the Hot Eight, and the Pinettes (an all-female group), whose imaginative inclusion of bebop and hip-hop into street repertoire enhances the tradition. In New Orleans jazz, tradition and innovation will always find the means to coexist, reflecting shifting realities that force musicians to become masters of innovation and adaptation, just like when the music was young. Written By Bruce Raeburn , Hogan Jazz Archive, Tulane University Published » March 27, 2013 | Last Updated » June 27, 2014 Cite This Entry Chicago Manual of Style Raeburn, Bruce. "Traditional New Orleans Jazz." In KnowLA Encyclopedia of Louisiana, edited by David Johnson. Louisiana Endowment for the Humanities, 2010–. Article published March 27, 2013. MLA Style Raeburn, Bruce. "Traditional New Orleans Jazz." KnowLA Encyclopedia of Louisiana. Ed. David Johnson.

Louisiana Endowment for the Humanities, 27 Mar 2013. Web. 20 Jan. 2017. Suggested Reading Would you like to learn more about this topic from books and other reading materials? Bechet, Sidney, with Joan Reid, John Ciardi, and Desmond Flower. Treat It Gentle. New York: Hill & Wang, 1960. Brothers, Thomas. Louis Armstrong’s New Orleans. New York: W. W. Norton, 2006. Brunn, H. O. The Story of the Original Dixieland Jazz Band. Baton Rouge: Louisiana State University Press, 1960. Carter, William. Preservation Hall: Music from the Heart. New York: W. W. Norton, 1991. Chilton, John. Sidney Bechet: The Wizard of Jazz. London: Macmillan Press, 1987. Fiehrer, Thomas. “From Quadrille to Stomp: The Creole Origins of Jazz.” Popular Music 10, 1 (1991): 21–38. Gushee, Lawrence.

“The Nineteenth-Century Origins of Jazz.” Black Music Research Journal 14, 1 (1994): 1–24. Gushee, Lawrence. Pioneers of Jazz: The Story of the Creole Jazz Band. New York and London: Oxford University Press, 2005. Johnson, Jerah. “New Orleans’s Congo Square: An Urban Setting for Early African American Culture Formation.” Louisiana History 32, 2 (1991): 117–157. Kinzer, Charles E. “The Tios of New Orleans and Their Pedagogical Influence on the Early Jazz Clarinet Style.” Black Music Research Journal 16, 2 (1996): 279–303. Kmen, Henry. Music in New Orleans: The Formative Years, 1791–1841. Baton Rouge: Louisiana State University Press, 1966. Knowles, Richard. Fallen Heroes: A History of New Orleans Brass Bands. New Orleans: Jazzology Press, 1996. Manone, Wingy, with Paul Vandervoort, II. Trumpet on the Wing.

Garden City, NJ: Doubleday & Company, 1948. Marquis, Donald M. In Search of Buddy Bolden: First Man of Jazz. Baton Rouge: Louisiana State University Press, 1978. Raeburn, Bruce Boyd. “King Oliver, Jelly Roll Morton, and Sidney Bechet: Ménage à Trois, New Orleans Style.” In The Oxford Companion to Jazz, edited by Bill Kirchner, 88–101. New York and London: Oxford University Press, 2000. Raeburn, Bruce Boyd. “Early New Orleans Jazz in Theaters.” Louisiana History 43, 1 (2002): 41–52. Raeburn, Bruce Boyd. New Orleans Style and the Writing of American Jazz History. Ann Arbor: University of Michigan Press, 2009. Rose, Al, and Edmond Souchon. New Orleans Jazz: A Family Album. 3rd ed. Baton Rouge: Louisiana State University Press, 1986. Russell, William, with Barry Martyn and Mike Hazeldine. New Orleans Style.

New Orleans: Jazzology Press, 1994. Smith, Charles Edward, and William Russell.The Jazz Record Book. New York: Smith & Durrell, 1942. Sudhalter, Richard. Lost Chords: White Musicians and Their Contribution to Jazz, 1915–1945. New York and London: Oxford University Press, 1999. White, Michael G. “The New Orleans Brass Band: A Cultural Tradition.” In The Triumph of the Soul: Cultural and Psychological Aspects of African American Music, edited by Ferdinand Jones and Arthur C. Jones, 69–96. Westport, CT: Praeger, 2001. External Links Disclaimer » If you click on any of the links below, you will leave KnowLA. The Louisiana Endowment for the Humanities does not certify the accuracy of information, nor endorse points of view expressed on the site to which you are navigating, with the exception of other LEH sites. Smithsonian Jazz Mixer Kid Ory | American musician | Britannica.com American musician J.J. Johnson Kid Ory, byname of Edward Ory (born Dec.

25, 1886, Laplace, La., U.S.—died Jan. 23, 1973, Honolulu , Hawaii ), American trombonist and composer who was perhaps the first musician to codify, purely by precept, the role of the trombone in classic three-part contrapuntal jazz improvisation. Ory is often remembered as a “tailgate” trombonist, one whose style of playing fills in, or supports, other band instruments and is reminiscent of the styles of prejazz ragtime bands and cakewalk bands. Ory (playing trombone) with his band Frank Driggs Collection/© Archive Photos Ory began to play as a child on homemade instruments. By 1911 he was leading one of the best-known bands in New Orleans . Among its members at various times were several musicians who later were highly influential in jazz development, including Sidney Bechet , Mutt Carey, Jimmy Noone , King Oliver , and Louis Armstrong . In 1919 Ory moved to California, forming a new band in Los Angeles .

After five years he joined King Oliver in Chicago and by the end of the 1920s had become a prolific jazz recording artist. He played with King Oliver’s Dixie Syncopators, Louis Armstrong’s Hot Five (later, Hot Seven), and Jelly Roll Morton ’s Red Hot Peppers. In 1930 Ory retired from music to run a successful chicken farm, but on his comeback in 1939 he enjoyed even greater success. He worked with clarinetist Barney Bigard (1942) and trumpeter Bunk Johnson (1943), and his motion-picture credits include Crossfire (1947), New Orleans (1947), and The Benny Goodman Story (1956). A musician of rough, almost coarse, candour and naive sensibilities, he must be seen in the context of the early days of jazz, which he influenced heavily. His outstanding jazz composition is “Muskrat Ramble” (1926).

Learn More in these related articles: Kid Ory's Creole Jazz Band 1944-1945: The Legendary Crescent Recording Sessions - Kid Ory | Songs, Reviews, Credits | AllMusic Kid Ory's Creole Jazz Band 1944-1945: The Legendary Crescent Recording Sessions AllMusic Rating google+ AllMusic Review by Scott Yanow Trombonist Kid Ory led one of the finest and most consistently exciting New Orleans jazz bands of the 1944-60 period. This CD contains 16 selections from 1944-45 when, after a decade out of music, Ory was making what would be a very successful comeback. These studio sides feature veteran trumpeter Mutt Carey and either Omer Simeon or Darnell Howard on clarinet along with a fine rhythm section and Ory's trombone. Highlights include "Blues for Jimmie Noone," "Panama," "Do What Ory Said," "Maryland, My Maryland," "1919 Rag" and "Ory's Creole Trombone." This is fun and often hard-swinging music.

Track Listing musicians Joe "King" Oliver : King Oliver's Creole Jazz Band was the most popular band of the early 1920s. This band was originally from New Orleans. King Oliver's Creole Jazz Band best captured the feel of New Orleans jazz music. Oliver played the trombone as a child, but later switched to cornet . While playing in the band of Edward "Kid" Ory in 1917, the famous trombonist coined Joe Oliver "King" of the cornet. Oliver joined Bill Johnson in Chicago in 1919, and soon after assumed control of the band. This famous band consisted of some of the greatest jazz musicians of the 1920s. Oliver played cornet, Johnson played bass, Johnny Dodds played clarinet, and Baby Dodds played on the Drums. In 1922, Oliver invited a young musician, Louis Armstrong, to join the band as a second cornetists. Armstrong was immediately popular and added to the growing prestige of King Oliver's band. They were recorded in 1923, and were famous as a New Orleans jazz band.

The Band played in Chicago's Lincoln Gardens until 1924. From 1925-1927, Oliver led the Dixie Syncopators at the Plantation Cafe. During a disastrous tour in 1927, Joe Oliver made the biggest error of his career. He was offered a position as performer and band leader in a club in New York. Oliver was unsatisfied with the starting pay, and had refused to compromise. As a result, The Cotton Club hired a young man named Duke Ellington. By 1929, Oliver's failing health, bad investments, and changes in the direction of jazz, led to the dissipation of Oliver's career. Although Oliver died in relative obscurity, he was a true giant of the Jazz Age, and his contributions to jazz were unsurpassed in the early 1920s. More On King Oliver Edward "Kid" Ory: Kid Ory was the first great jazz trombonist, and was in high demand in the 1920s.

His New Orleans band ( formed in 1912) fostered many young and rising jazz musicians, including: King Oliver, Louis Armstrong, Johnny Dobbs, Sidney Bechet, and many others. Ory brought the New Orleans sound to Los Angeles in 1919. He became the leader of the first African American band to record New Orleans jazz music in 1922. This recording included "Ory's Creole Trombone and Society Blues." Ory joined King Oliver's Dixie Syncopators in Chicago in 1925 and played with him until 1927. Kid Ory played on many of the early recordings of King Oliver, Louis Armstrong, and Jelly Roll Morton, and was unparalleled in his mastery of the trombone. He went on to have an extremely successful career, not retiring until 1966. Louis Armstrong: Louis Armstrong rose to fame in the 1920s. His mentor had been Joe "King" Oliver. Oliver had often sent Armstrong out on jobs that he could not fit into his schedule. In 1919 Oliver went to Chicago, leaving Louis to fill his place in the best jazz band in New Orleans, that of Kid Ory.

In 1921, King Oliver wired Armstrong from Chicago and asked Louis to join him in Chicago's Lincoln Gardens. This was a pivotal point in Armstrong's life. Armstrong felt that New Orleans was his home, but he admired King Oliver too much to reject the offer. Later in life, Armstrong stated, "His (Oliver's) calling for me was the biggest feeling I had musically." In Chicago, Oliver utilized Louis' harmonic talent by improvising a line, and letting Louis complete the melody. This awed jazz enthusiasts, and word of Louis' talent spread throughout the city. While King Oliver was Armstrong's mentor, his talent as a soloist dimmed in comparison to Louis'. Louis married for the second time in 1924, to jazz pianist Lil Hardin. She encouraged Louis to break off from Oliver's band in 1924. He accepted a position with Fletcher Henderson, the leader of one of the most prestigious dance halls in New York City. It was from Fletcher Henderson that Louis learned about composition and music terminology. Through this band, Louis was able to directly influence the sound of the dance hall jazz.

At the Rosewood Ballroom on Broadway, Armstrong added the classic New Orleans sound to the sophisticated sound of the popular jazz. Amazed by Louis' talent and unique sound, Henderson incorporated Louis' rhythmic improvisation. It was readily apparent that Louis was the best jazz soloist on Broadway. Louis was back in Chicago by 1926. From 1925-1928, Louis Hot Five and Hot seven recordings were made. These works, along with several collaborative recordings with Earl Hines, were Louis most important works of the 1920s. After the 1920s, Louis fronted for the big bands of the 1930s and forties. Louis Armstrong and a very long and successful career. He influenced the direction of jazz music and improvisation. Louis Armstrong was the first "super star" of jazz music. More on Armstrong Bix Beiderbecke: Bix Beiderbecke was one of the most popular and sophisticated jazz trumpet players of the Roaring Twenties. His smooth sound was especially popular on college campuses. Beiderbecke was sent to school in Chicago, but ended up becoming immersed in the jazz culture of the city.

He joined the Wolverines and made his first recording in 1924. Beiderbecke then played with Frankie Trumbauer's band in St. Louis. In 1926, Bix joined the Jean Goldkette Orchestra and the radio broadcasts brought Beiderbecke nation wide acclaim. In 1927, he joined the Paul Whiteman orchestra. Beiderbecke's polished sound and precise rhythms fit beautifully with the symphonic sound of Whiteman's orchestra. Bix Beiderbecke was a true Jazz age musician. Alcoholism and disillusionment were the causes of his death in 1931, at the age of twenty nine. Jelly Roll Morton: Jelly Roll Morton was the first great composer of jazz music. He was also one of the first jazz musicians to travel the country and spread the "New Orleans Sound." Morton was also an outstanding performer. Having grown up in New Orleans, Morton excelled as a jazz pianist and vocalist, and was influenced by regional musical styles. By 1925, Morton had settled in Chicago, and recorded his compositions.

While Louis Armstrong was changing the direction of jazz music, Jelly Roll Morton was recording with the Red Hot Peppers in the New Orleans style, which stressed collective improvisation over the soloist style of Armstrong. After a move to New York in 1928, Morton faded into relative obscurity. He failed to alter his style and was upstaged by artists favoring soloist improvisation. Paul Whiteman: Whiteman was the King of symphonic jazz in the 1920s. Whiteman gained most of his fame for the musicians that he employed, such as: Bing Crosby, Bix Beiderbecke, Tommy Dorsey, Johnny Mercer, and many more. One of the most important contributions of Whitman was his commission of Gershwin to write "Rhapsody in Blue." This landmark piece was performed for the first time in the "An Experiment in Modern Music" concert in Aeolian Hall (New York) in 1924. Whiteman's band also recorded his own composition, "Whispering," in the early 1920s, and it sold remarkably well.

Although Whiteman's band was very popular in the 1920s, he cannot be considered a true jazz musician. The music his band performed consisted mostly of popular dance music and symphonic music. He added the flavor of the jazz sound without becoming a jazz band. Duke Ellington: The 1920s served as Ellington's road to fame and fortune. Ellington was born in Washington, DC., and began his musical career there with his first band, Duke's Serenaders. In 1923, Duke moved to New York, where he would be embraced for his musical brilliance. Between 1923 and 1927, Ellington solidified his future in the entertainment industry of New York. The Washingtonians (Ellington's band) had regularly played Club Hollywood, which later became Club Kentucky. After his last season at the Club Kentucky in 1927, The Ellington Orchestra accepted a job at the Cotton Club. They became famous for their "Jungle Nights" show, and were hired for a permanent position at the renowned Cotton Club. Jazz fans, both African American and white, crowded in to hear Ellington's Orchestra.

It was during this time when Ellington began to diligently compose music. Over the next forty years, Ellington became one of the most important composers of the twentieth century. More on Duke Ellington Earl Hines: Earl "Fatha" Hines irrevocably influenced the evolution of modern piano styles. Having played in Pittsburgh for several years, Hines moved to Chicago in 1923. In Chicago, Hines found himself in high demand with the top jazz bands in the city. Hines and Louis Armstrong became aquatinted while Hines was with Carroll Dickerson's band in 1926. After playing gigs together occasionally, they recorded King Oliver's duet, "Weather Bird." Hines was unique in his piano style in the 1920s. His improvisation and counter rhythms impressed Armstrong and other famous jazz musicians. In 1928 Hines started his own band, which played at the Grand Terrace. Over the next 20 years, many famous musicians passed through the Grand Terrace Band, including: Dizzy Gillespie, Billy Eckstein, and Charlie "Bird" Parker.

Spike's Seven Pods of Pepper Orchestra - Ory's Creole Trombone (1922) - YouTube Spike's Seven Pods of Pepper Orchestra - Ory's Creole Trombone (1922) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Aug 8, 2010 Edward 'Kid' Ory (Dec.25,1886 - Jan.23,1973) was a jazz trombonist and bandleader. He was born in Woodland Plantation near LaPlace, Louisiana. Ory started playing music with home-made instruments in his childhood, and by his teens was leading a well-regarded band in Southeast Louisiana. He kept LaPlace, Louisiana as his base of operations due to family obligations until his twenty-first birthday, when he moved his band to New Orleans, Louisiana. He was one of the most influential trombonists of early jazz.

Ory was a banjo player during his youth and it is said that his ability to play the banjo helped him develop "tailgate," a particular style of playing the trombone. In "tailgate" style the trombone plays a rhythmic line underneath the trumpets and cornets. House on Jackson Avenue, New Orleans, was Ory's residence in the 1910s. He had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including, cornetists Joe "King" Oliver, Mutt Carey, and Louis Armstrong; and clarinetists Johnny Dodds and Jimmie Noone. In 1919 he moved to Los Angeles—one of a number of New Orleans musicians to do so near that time—and he recorded there in 1922 with a band that included Mutt Carey, clarinetist and pianist Dink Johnson, and string bassist Ed Garland. Garland and Carey were longtime associates who would still be playing with Ory during his 1940s comeback.

While in LA Ory and his band recorded two songs, "Ory's Creole Trombone" and "Society Blues." They were the first jazz recordings made on the west coast by an African-American jazz band from New Orleans. His band recorded with the recording company Nordskog and Ory paid them for the pressings and then sold them under his own label of "Kid Ory's Sunshine Orchestra" at a store in LA called Spikes Brothers Music Store. In 1925, Ory moved to Chicago, where he was very active, working and recording with Louis Armstrong, Jelly Roll Morton, Joe "King" Oliver, Johnny Dodds, and many others. During the Great Depression Ory retired from music and would not play again until 1943. From 1944 to about 1961 he led one of the top New Orleans style bands of the period.

In addition to Mutt Carey and Ed Garland, trumpeters Alvin Alcorn and Teddy Buckner; clarinetists Darnell Howard, Jimmie Noone, Albert Nicholas, Barney Bigard, and George Probert; pianists Buster Wilson, Cedric Haywood and Don Ewell; and drummer Minor Hall were among his sidemen during this period. All but Probert, Buckner, and Ewell were originally from New Orleans. The Ory band was an important force in reviving interest in New Orleans jazz, making popular radio broadcasts—among them a number of slots on the Orson Welles Almanac broadcast and a jazz history series sponsored by Standard Oil—as well as by making recordings. Ory retired from music in 1966 and spent his last years in Hawaii, dying in Honolulu. Spike's Seven Pods of Pepper Orchestra - Ory's Creole Trombone (1922) Category

Question: With which instrument do you associate the jazz musician Kid Ory?
Answer: Trombone